The recent Countering CCP Drones Act by Congresswoman Elise Stefanik and Congressman Mike Gallagher may prove disastrous for leading drone maker DJI. It won’t be the first clash between the American government and Chinese companies and will probably not be the last. “DJI drones pose the national security threat of TikTok, but with wings,” Congresswoman Stefanik wrote in a statement on her website. It seems both sides have valid arguments and concerns, as well as other interests in this case.

Justified concerns – DJI Countering CCP Drones Act

The United States representatives’ concerns revolve around data collection, privacy issues, and national security. While some may dismiss such arguments as conspirative, lacking evidence, etc. they’re not completely far-fetched. The CCP is not famous for its transparency regarding its relationship with Chinese corporations, and the Shenzhen Da-Jiang Innovations Sciences and Technologies Company (aka DJI) is, in fact, a Chinese corporation. USA representatives may be deemed as paranoid, but being paranoid doesn’t necessarily mean you are not being stalked.

DJI’s drones are much more than flying cameras

As a leading drone manufacturer and an innovative company in general, DJI is exposed to some serious allegations. Affordable, off-the-shelf, semi-autonomous aircraft can be used for more than establishing shots.

As the world’s most prominent drone maker, DJI potentially bears some level of responsibility for actions and deeds done using their products. But then again, it’s quite unfair to blame the company for military adaptations and weaponization done to their products by third parties or end users. I don’t have the information or tools to judge here, and neither do most of us, I assume.

DJI Countering CCP Drones Act – Data is power

The Countering CCP Drones Act, however, doesn’t seem to originate from these concerns. As for the aforementioned act, the flying camera functionality (and geographic orientation linked with it) is what raises concern. Millions of these are roaming around the world, and it seems like some American Congress representatives are not convinced that the footage stays in the confines of the drone or wherever the operator downloads and publishes it. In their blog post, DJI counters the arguments. The company denies any involuntary data collection as well as any other allegation. According to this blog post, DJI is not compelled by the Chinese government to assist in espionage, is not a Chinese military company, and does not take part in atrocities around the world. Regarding the last point, DJI points out their inability to track each and every action carried out by their off-the-shelf products, and their intensive development of safety and security systems.

Innovative, liberal ideology, or lip service?

DJI warns that the Countering CCP Drone Act will hurt competition, innovation, and the drone community. Fair arguments indeed. However, I must point out the use of American core values, and the use of democratic and capitalistic terminology to counter an act aimed at protecting those very values and the nation. Respectively, those are Republican representatives using pro-regulation claims. These contradictions emphasize the complexity of this situation, sprawling further and deeper than the professional scope I’m able to cover. From my professional visual creator stance, a loss to DJI is a loss for the entire industry, as this company cemented themselves into the field with numerous innovative and even groundbreaking products.

Who do you think is right about this conflict? Are you afraid of the growing power of DJI, or is it excessive governmental power that gives you shivers? Let us know in the comments.

SWIT is well-known for their lineup of compact on-camera monitors, such as the CM-S75F we reviewed here. The company also makes production monitors, and they recently released the stellar BM-U325 and BM-U326MD 4K/8K monitors. However, with respective price tags of $19,000 and $26,000, these high-end monitors are not aimed at everybody.

SWIT has released an updated version of their FM-21HDR, which was released in 2021: the FM-215HDR. The FM-21HDR looks quite similar to the OSEE LCM215-HDR+ (my review here), which isn’t surprising as SWIT is the parent company of OSEE.

SWIT FM-215HDR – features

The SWIT FM-215HDR is a 21.5-inch production monitor with a maximum resolution of 1920 x 1080. The monitor has a contrast ratio of 1000:1 and a large viewing angle of 178°, so you should be able to use it outside without any problems.

The monitor has an 8-bit panel but uses the 8+2 FRC technology to emulate 10-bit. This is a widespread “trick” amongst all manufacturers, as genuine 10-bit panels are expensive. According to SWIT, the FM-215HDR covers 97% of the DCI-P3 color space. SWIT also mentions that the monitor supports PQ/HLG/S-Log3 HDR monitoring.

Also, the FM-215HDR can be color-calibrated using the “Atheros X-rite I1 Pro OEM and JETI Specobos1211 color probes directly connected to the monitor via USB.”

As you can tell, the monitor comes with an aluminum flight case, which is handy for transporting and protecting it, something essential for a production monitor. However, please keep in mind that the unit measures 57 x 26 × 40.5cm/22.4 x 10.2 x 15.9in and weighs 7.28kg/16 lbs, so it’s not the kind of monitor that you always bring with you as a one-man-band filmmaker, for example.

Input and output ports

At the back of the SWIT FM-215HDR, you’ll find:

• Three 3G-SDI and one 12G-SDI video input ports.
• One 3G-SDI and one 12G-SDI video output port.
• One HDMI 2.0 input port.
• There are three RS-485 ports: one is a GPI (tally) input, and two are for TSL3.1/4.0 UMD dynamic source name input/output.
• There is a built-in speaker and a 3.5mm audio output.
• A 4-pin XLR 12V power input and a regular mains power input.
• A USB port at the front for firmware update and load custom LUTs.

Even if the FM-215HDR has a 1080p display, it supports 4K input/output signals at up to DCI 4K60p.

The FM-215HDR can also be powered via V-Mount batteries and has a built-in battery plate. If you want to mount this production monitor to a light stand, there are VESA 100×100 mounting points at the back. However, the FM-215HDR doesn’t come with a light stand bracket, so you’ll have to buy it separately.

Monitoring tools

The SWIT FM-215HDR has multiple function buttons at the front, so you can quickly adjust your brightness/contrast/source/saturation settings. It also has five user-assignable function buttons and four user profiles.

The monitor has multiple video inputs, so it supports quadview monitoring, two picture-in-picture, and two picture-by-picture monitoring. You can also view two inputs vertically (9:16) in a direct crop mode for social media shootings.

The FM-215HDR also has built-in monitoring tools, including waveform tools, peaking, R/G/B mono, histogram, zebra, false color, marker, and audio signal.

Pricing and availability

The SWIT FM-215HDR is available now for $1,799/€1,999. The monitor comes with two accessory plates, a screen protector, and an aluminum flight case.

For more information, please visit SWIT’s website here.

What do you think about the FM-215HDR? Do you often use production monitors? Don’t hesitate to let us know in the comments below!

“Medium Format” and “Accessible” are two terms rarely found in the same sentence. Digital medium format picked up where analog medium format ended. Most initial entries were digital backs. Various sensor sizes and formats were mounted onto cumbersome electronic backs, then mounted to analog medium format cameras. This method enabled a relatively smooth systematic transition, and also a hybrid operation with digital backs working as indicators while the film was used for the higher-quality end result. But it had some significant issues.

Modular mayhem

Early digital backs required significant electronic prowess, not always within reach of film camera manufacturers. Various electronic companies entered the market, creating digital backs with various levels of compatibility. Such were Leaf, Imacon, and Phase One with the latter still leading the high-end segment of this market today.

This practice brought about some compatibility challenges. In these early eons, compact storage media couldn’t support massive file sizes. Many digital backs didn’t even bother with memory cards and were limited to either tethering or storage magazines. This meant one set of batteries for the camera, another type for the back, and an additional one for the magazine. Furthermore, many medium format cameras didn’t have any electronic connections to sync to the back and sensor, requiring additional cables.

These traits, originally made for seamless integration, made medium format photography extremely cumbersome, unwieldy, and expensive. The change started in 2010.

Pentax unionizes the format

Most if not all medium format manufacturers moved towards more unified, proprietary systems, but it was Pentax who introduced the world to the first unified body, medium format camera. Utilizing their vast experience with both analog medium format cameras as well as digital SLRs, the company created the Pentax 645D.

A long-time innovator in the analog medium format days, the company has implemented various technologies into the format. Coming from 35mm cameras, some of those were considered “Hobbyist” or “Amateur”. These functions included smart light metering, advanced autofocus, etc.

Pentax did just the same with the 645D – the company didn’t refer to it as a “medium format” camera, disregarding the fuss and technical snobbism, thus blurring the line between medium format and 35mm/full frame. Oh, and Pentax also slashed the price with the first $10K medium format digital camera ever.

Blurring boundaries

A distinct line is drawn between the Pentax 645D to the FUJIFILM GFX 100s. Both cameras shamelessly take advantage of every available technology and feature, utterly disregarding its “amateur” reputation. Both come from manufacturers deeply invested in APS-C cameras. Both come from relatively small manufacturers with a strong reputation for innovation in some unexpected ways. There have been many evolutionary changes since 2010. Pentax debuted the use of CMOS sensors in medium-format cameras with the 645Z. This brought extreme ISO settings for the first time with medium format, high dynamic range, and basic video capabilities. The camera was widely adopted (in medium format standards) and even caught the eye of some known cinematographers.

FUJIFILM carried the format into the mirrorless age, later followed by Hasselblad. The GFX 50S and the GFX 50R introduced a new level of “handhold ability”, being just slightly larger than professional DSLRs. The GFX100 was arguably the first medium format camera designed with professional videography in mind.

Though earlier cameras included video capabilities, I’ll argue that it was more of an afterthought than a design choice. The GFX 100s also incorporated the first mirrorless phase-detect autofocus system, including scene recognition and subject tracking. But none of those innovations was as important as the core conceptual shift that started with the Pentax 645D and peaked with the FUJIFILM GFX 100s. The concept of medium format cameras is a natural evolution of high-end full-frame cameras rather than a separate segment.

The final frontier

The FUJIFILM GFX 100s wasn’t the first to offer over a 100-megapixel sensor, nor was it the first 4K 10-bit capable medium format camera. We even had stabilized 44×33 sensors, phase detect autofocus, compact unified camera body, and more in other medium format cameras. But the GFX 100s was the first at one significant front – Price. As of its debut, the camera’s price aligned with high-end full-framers. The Sony A1, announced in the same week as the GFX 100s, was actually $500 more expensive at $6,500. Up until this point, medium-format cameras were somewhat excluded from the mainstream market. Even when priced around $10K, one would have to use the uniqueness trump card to justify the purchase. The same justification applies to other unique gear such as Leica M cameras, analog filmmaking, large format photography, vintage lenses, etc. When prices align, a fundamental segmentation shift occurs, and that’s the story of the landmark FUJIFILM GFX 100s.

The final chapter for the GFX 100s?

Announced in January 2021, it seems that a GFX 100s replacement is due soon enough. This, and the $7,500 GFX 100 II may be the possible motivations behind the current $1600 price drop.

With its new $4,400 price tag, the GFX 100s assumes an extremely competitive position among high-resolution cameras. The likes of the Sony A7R V, Nikon Z 8, Canon EOS R5, or the Leica SL3 may out-perform it in terms of agility, burst speed, and autofocus, but all falls short when it comes to their defining feature – still image quality. The 44x33mm 102-megapixel BSI CMOS sensor is still untouched in terms of resolution, offering significantly higher image quality compared to its full-frame peers. Unlike medium format cameras of old, this comes with just a minimal toll regarding speed and operability. The FUJIFILM GFX 100s is fast enough for various genres. It boasts incredible high ISO performance, can track faces and eyes with adequate accuracy for portrait or event photography, and offers decent 4K 10-bit recording. I personally use it for my high-res landscapes, museum-level reproductions, architecture, family, and occasional wedding photography. And is also my choice for YouTube videos.

No longer niche

Like some of its forebears, the GFX 100s is a landmark camera – another step in the long journey medium format has made it into the mainstream market. While still rather unique regarding still image quality, this camera is a true representative of the hybridization and democratization evolution. While the GFX 100 II is not its direct predecessor, this camera also walks the path, and so I assume the next generation will. We’ll have to wait and see if those will be as influential as the GFX 100s, which is now available for an amazingly affordable price.

Price and availability

The FUJIFILM GFX 100s is now available for no more than $4,399 in the USA and various similar offers across Europe. We can’t be too sure as to the duration of this sale. My guess is that it will continue until stocks deplete, but I have nothing but my common sense to base it on.

Will you consider this high-end stills camera for your work or play? Do the basic but good video specs satisfy you? Let us know in the comments.

When shooting a multi-cam project or simply having multiple crew members out on a set, a reliable intercom system can save a lot of time and stress. Aside from established professional and rather expensive solutions, there have been quite a few affordable offerings emerging in recent years. One of the recent examples is the Hollyland Solidcom C1 Pro system.

Another Chinese company, CAME-TV is not a newbie in the intercom systems market either. For instance, back in 2018, we reported about the CAME-WEARO headset. Today, CAME-TV launches a new, much more compact full-duplex wireless intercom system called CAME-NANO. Let’s take a quick look at its features and specs.

CAME-NANO – compact full-duplex intercom system

There are two types of CAME-NANO devices – master and host. For the communication to work, you always need one master unit which can then control up to four host units to create a full duplex connection for up to five people.

A quick side note – in case you’ve never heard this term, “full-duplex” simply means there is no need to press a button to speak as every device can receive and send audio at the same time (much like regular cell phone calls). The technology used in this device is a Time Division Duplex (TDD).

As the name already implies, CAME-TV, above all, emphasizes the overall compact size of the devices. Each CAME-NANO weighs 64g/2.25oz and its dimensions are 7x6cm/2.75 x 2.36in. In line with the minimalistic design, the body of the CAME-NANO features three buttons only (volume up, mute, volume down). The design of the master and host unit is almost identical, the only difference being the color of the symbols on the buttons (master – red with an “M” printed on the front, host – white). The power button is on the side.

The device features a built-in microphone and speaker, and it also offers a 3.5mm TRRS audio input/output port for connecting an external headset. Each CAME-NANO device has a built-in battery (3.7V, 1100mAh) that can last for up to 15 hours (master up to 8 hours) of uninterrupted talk time, according to CAME-TV. For charging, there is a USB-C port, so it can also be charged using a power bank (5V, 500mA).

The system features noise reduction for clear voice delivery. CAME-TV also claims the audio connection has zero latency (zero delay). When it comes to range, CAME-TV claims the Nano can achieve up to 335m/1100ft line-of-sight connection (distance from the main pod). The frequency in which the system works is 1881.792-1897.344 MHz (CE, Europe) or 1920-1930 MHz (FCC, USA).

The CAME-NANO offers a variety of carrying options – hanging, clipping, or handheld use. The device comes with a removable clip that can also be used with the included velcro strap or lanyard.

Larger groups or multiple independent groups

For larger groups (between 6 and 8 people), you can connect two master devices via a 3.5mm audio cable. Each master then controls up to 4 host devices. When connected this way, it seems the master device itself cannot be used for audio in/output anymore, but only for controlling and connecting other host devices.

For even larger crews, CAME-TV also offers a hub that can control additional CAME-NANO devices to create a full-duplex connection for up to 20 people. The good thing is that the new CAME-NANO is cross-compatible with other existing CAME-TV communication systems as well.

Price and availability

CAME-NANO intercom system can be ordered now, and you can choose between US and EU versions depending on where you will be using the device. CAME-TV offers many different kits (each device comes with a headset, strap, and lanyard):

• CAME-NANO intercom master unit – $163
• CAME-NANO intercom host unit – $163
• CAME-NANO intercom 2-kit (master and host) – $317
• CAME-NANO intercom 4-kit (master and 3 hosts) – $625
• CAME-NANO intercom 5-kit (master and 4 hosts) – $688
• CAME-NANO intercom 7-kit (hub, master, 6 hosts) – $1,099
• CAME-NANO intercom 10-kit (2 masters, 8 hosts) – $1,375
• CAME-NANO intercom 10-kit (hub, master, 9 hosts) – $1,485
• CAME-NANO intercom 14-kit (2 hubs, 2 masters, 12 hosts) – $2,198
• CAME-NANO intercom 20-kit (2 hubs, 2 masters, 18 hosts) – $2,970

For more information and to purchase a kit, please have a look at their website.

Which solution do you use for communication with your team on set? What do you think about the new CAME-TV Nano intercom? Let us know your thoughts in the comments section underneath the article.

Lens enthusiasts are constantly on the quest for a cinematic, vintage look. And while there are many options to choose from out there – like the popular Canon FD, Nikon AI-S, or Olympus M series, for example – none of these still vintage lenses were designed for use on a professional film set. Hence, cinematic rehousing is often necessary. By the way, if you’d like to learn more about this operation, I highly recommend watching this recent, insightful video by Media Division.

When it comes to lens rehousing, ZERØ OPTIK is definitely a major player. The American firm already has a number of projects under their belt, and their latest effort aims at giving a new life to Pentax Super-Takumar glass. Let’s take a look!

ZERØ OPTIK Pentax Super-Takumar rehousing project

Named after Japanese-American painter Takuma Kajiwara, brother of Asahi Optical’s founder Kumao Kajaware, the Super-Takumars are a set of M42 screw mount lenses originally built in the early 1960s for 35mm stills photography. These lenses are known for producing rich, warm tones, and creamy bokeh.

Currently, ZERØ OPTIK offers 3 Super-Takumar focal lengths – 35mm f/2, 50mm f/1.4, and 85mm f/1.8 – but more lenses should join the set in the future.

In particular, the 50mm is the legendary 8-element version – also known as the “Planar killer” – and features an expensive-to-manufacture cemented triplet with curved surfaces. Legend has it that this lens was so hard to produce that Asahi Optical lost money on every copy sold. As a result, the 8-element design was later abandoned in favor of a simpler 7-element structure.

After rehousing, the lenses feature a 95mm front diameter that is consistent across the set to facilitate the use of matte boxes and filters. Moreover, as you can tell from the picture below, the number of iris blades is increased to produce a perfectly circular bokeh. Additionally, the company managed to improve close-focus capabilities.

I couldn’t find the exact figures of the minimum focus distances on the rehoused lenses. For reference, the original Super-Takumar 50mm f/1.4 (Version 1) can focus as close as 45cm/17.7”.

Price and availability

At the moment of writing, there’s no official information regarding the cost of the rehousing, but we will update the article as soon as we find out. Generally speaking, rehousing a set of vintage lenses is an expensive operation due to the high expertise involved.

For more information, please visit ZERØ OPTIK’s website.

Do you own any of these Super-Takumar lenses? How do you like their look? Would you ever think of rehousing your set? Let us know your thoughts in the comment section below!

In the post, OpenAI states that they’ve been “working with visual artists, designers, creative directors, and filmmakers to learn how Sora might aid in their creative process.“ Although they admit that their deep-learning model still needs many improvements, the following results offer a glimpse into the future that’s waiting for us around the corner. Is everything really as positive as all the beta-testers’ published thoughts are?

OpenAI’s Sora in action: entire short films

Of all the visual works chosen by OpenAI for their impressions publication, one stands out. It’s the short film “Air Head” by a small Toronto-based multimedia production shy kids. Creators decided to tell an original story of a balloon-headed man, using him as a metaphor for their own heads, filled with so many ideas they might pop. Take a look at it, keeping in mind that all the visuals here were made by AI:

Surely, it’s not the most consistent video you’ve seen in your life. Also, as the protagonist lacks a head, we cannot judge Sora’s ability to communicate relatable emotions and keep the character’s faces intact. Yet, in general, the idea works, and the initial story comes through.

As great as Sora is at generating things that appear real, what excites us is its ability to make things that are totally surreal. A new era of abstract expressionism.

Walter Woodman from shy kids, the director of “Air Head”

The feedback from artists and digital creators

Not only filmmakers were invited to look at Sora in action. A couple of artists and digital creators also took part in beta tests. For example, Josephine Miller, a Co-Founder and Creative Director of London-based Oraar Studio, which specializes in the design of 3D visuals, augmented reality, and digital fashion. Her experiment resulted in a futuristic outfit concept:

Josephine found that the main advantage of working with Sora was the ability to make rapid concepts with a high level of quality. Consequently, this tool enabled her to translate her imagination into something visual “with fewer technical constraints”. Multidisciplinary artist August Kamp agrees. Her quoted thoughts on OpenAI’s webpage are very similar, revolving around the freedom of artistic expression that Sora offers.

While it’s sweet to read inspired thoughts and lovely impressions, I can’t help but wonder: was all the feedback from beta testers so positive? Not so sure. A lot of artists are intimidated by AI and have noticed how it has already taken away some of their paid gigs. Remember a huge discussion sparked by the development of image generators like Midjourney? Using such tools as Sora for quick concept visualization is one thing. Selling its results as the final product is a completely different story.

OpenAI’s Sora in action: other applications

What I found interesting though is that some of the posted impressions show how OpenAI’s Sora in action could be helpful for other purposes. For example, sculptor Alexander Reben used the AI tool as a starting point to develop a 3D sculpture:

A multidisciplinary creator Don Allen III, (who worked for DreamWorks Animation, for example), also mentions the possibility of using Sora for prototyping:

For a long time, I’ve been making augmented reality hybrid creatures that I think would be fun combinations in my head. Now I have a much easier way of prototyping the ideas before I fully build out the 3-D characters to place in spatial computers.

Those two examples show that OpenAI’s Sora might be utilized for purposes other than just generating video content. As there are already AI tools on the market that allow the transfer of videos into, say, 3D models (LumaAI is one of them), the combination of those with Sora opens up new prospects for creators. If you want to see all the published work and early impressions of OpenAI’s Sora, head over here.

Mixed reactions from the creative community

Let’s come back to the short film “Air Head” real quick and scroll through the comments on the shy kids Instagram account where it was published. A lot of the reactions show excitement, awe, hype, and supportive emojis. However, if you take a closer look, you will also find enough critical responses and a bunch of important questions. Some of the commenters worry about the future definition of an artist, and whether it will be whoever shared or saw something first. Others point out more pressing matters:

While for some people, seeing OpenAI’s Sora in action means completely new and mindblowing possibilities for independent creators, others disagree, saying it will also lead to the loss of jobs. There is also a third kind of response that reflects mixed feelings. I guess it’s also the one I can relate to the most:

“We are going to be so saturated with art on every medium soon (music is coming), artists like me are starting to wonder how our value is determined and our need to express will be viewed. I’m both heartbroken and in awe, but get no personal pleasure in creating something with AI because I didn’t actually create it, and the world won’t know or care in the end as well.“

From one of the comments to the “Air Head”

The ethical question is still in the air

A further critical question that hasn’t been resolved so far is what sources OpenAI trains Sora on. This is generally a grey area in the realm of generative AI. That’s why when the company’s CTO Mira Murati couldn’t publicly answer whether they used YouTube videos or not, another round of heated discussion was launched. You can read about it here.

So, now that we’ve seen OpenAI’s Sora in action, what do you think about it? Do you agree with the first impressions of artists who tested it? Could you imagine integrating this tool into your projects? If so, how? Let’s discuss it in the comments below, but please, stay kind to each other.

Feature image: a collage from the visual works, generated by Sora. Source: OpenAI.

Building on the success of the original HD SeeMo, this new model introduces UHD 4K HDMI input. The original SeeMo adapter was introduced in 2022 (here’s our video review in case you missed it) with the SeeMo Pro following in 2023, which offered some significant changes and additions. Now, the newly released SeeMo 4K has been introduced, which can transform iPhones (iPhone 8 and later) and iPads into high-resolution on-camera monitors that support 4K streaming capabilities. Integration is straightforward: connect the SeeMo 4K to the camera via HDMI, attach your iOS device using the included Lightning or USB-C cable, and launch the Accsoon SEE app.

4K streaming – streamlined

The SeeMo 4K simplifies live streaming workflows. Users can directly stream high-resolution video to social platforms like YouTube and TikTok using a 4K camera, the SeeMo 4K, and an iPhone. The adapter runs on a Sony NP-F type battery that can also charge your iPhone or iPad when connected. There is also an additional USB-C output so low-power USB devices like mics can be powered as well.

Here’s the breakdown

The SeeMo 4K is compact, lightweight, and can be carried in your pocket or a bag. It serves as a link between your camera (HDMI output) and iPhone (Accsoon SEE app), enabling professional monitoring, recording, and live streaming. The SeeMo 4K accepts 2160p at 23.98/24/25/29.97/30fps, 1080p up to 60fps, and 720p up to 60fps. The app displays a low latency image closely matching traditional monitors. 

The unit has an SD card reader that lets you transfer photos, videos, and other files to and from a USB-C iOS device. Please note that videos cannot be directly recorded to the SD card from the SeeMo 4K – it is for transfer purposes only.

Recordings are captured in H.264 format at up to 20 Mbps and saved directly to your iPhone’s camera roll. They can then be shared or backed up using email or various apps, including WhatsApp, iMessage, Airdrop, and more. The connection cable between SeeMo 4K and iPhone provides uninterrupted internet access and keeps Wi-Fi and data free for streaming and uploading content, separate from the video signal.

SEE App updates

The latest version of the SEE App has several important new features:

• 90-degree, 180-degree, or 270-degree video rotation for recording and streaming – helpful for social media users who want vertical video options.
• The ability to ‘burn’ a custom LUT to Log-encoded footage before recording or streaming from your iOS device.
• A secondary calibration LUT can be loaded for viewing purposes for those with access to high-end calibration equipment, giving them the most precise color accuracy possible on their iOS devices. (This operates independently of any creative LUTs you might be using.)
• SRT protocol has been added for advanced users seeking higher quality, low-latency video streams.

The specs

Price and Availability

The SeeMo 4K is priced at $179 and will be available to purchase from authorized Accsoon dealers in April 2024. For more information and to compare the various SeeMo models, have a look at their website.

Do you see some new doors opening with this SeeMo 4K adapter? Do you own any of the other SeeMo devices? Let us know in the comments below!

Not a month goes by when we don’t see a new wireless recording device appearing on the market. Companies try to compete against established brands like RØDE or DJI by offering different features or selling their units at a competitive price. The G3 Pro wireless system is a more affordable version of the existing G3, and like its more expensive sibling, it has a touch LCD screen next to an adjustable noise reduction function as a main selling point. 

First impressions

The SYNCO G3 Pro is a 2.4 GHz three-channel wireless mic with a touchscreen for a user-friendly experience. It has a receiver and two transmitters attached to the sides for a compact setup. As the transmitters can receive power from the receiver, there is no need for an extra charging case. The receiver has a small microphone inside, which should be helpful in different scenarios, like recording the director’s voice or the operator behind the camera. 

The SYNCO G3 Pro’s interface can also support devices like a camera or a computer. The unit features an option for three levels of noise cancellation that the user can choose to fit the environment they are recording. 

Regarding battery life and connectivity, the SYNCO G3 Pro includes a USB-C port and can be charged with power banks, for example. The battery lasts around eight hours, and with a double charge circle, around 24 hours of recording time can be obtained.

For now, the SYNCO G3 Pro does not offer a backup recording option, so we must wait for the final release to see if that option is included. 

Price and availability 

The SYNCO G3 Pro will be available in April, and its retail price will be $149. 

What do you think about the SYNCO G3 Pro? Do you think its features can compete in an already saturated market? Let us know in the comments below!

The SIGMA Art series continues expanding their catalog by adding the SIGMA 50mm F1.2 DG DN. Remember that DG denotes a lens designed for a full-frame camera and DN indicates ‘mirrorless’. The Japanese company claims this lens to be the “best standard lens in SIGMA’s history”. Among its characteristics, there is little flare, spherical aberration, and a reduction in color fringing.

Image quality in a compact size

SIGMA designed this 50mm lens not only by keeping image quality in mind but also by keeping it in a compact size and a lightweight body for today’s shooters (745g). By reducing chromatic aberration and fringing across the range, the company wants to offer a lens that can be used at its maximum aperture with high image quality. That is usually the selling point when we look for such fast lenses; we might want to use them wide open when needed without dealing with image degradation and softness. 

Main features

SIGMA recognizes that, while some focus breathing is present, it is almost suppressed and unnoticeable. According to the company, the secret of the high performance of this 50mm F1.2 DG DN is the use of a 17-element lens. That usually means an increase in the overall length of the lens, but SIGMA has overcome this problem by using thinner layers of glass and reducing the space between the elements. 

The SIGMA 50mm F1.2 DG DN’s focusing lenses are positioned at two different locations, making it a “floating focus” lens that improves optical performance from infinity to close-up, as well as helps reduce the focus breathing. The lens features a linear motor with high driving accuracy and quietness, designed to reduce its volume while maintaining its thrust. 

Regarding bokeh, the lens features a 13-blade circular aperture, so the bokeh is less polygonal and closer to a circle even when stopping down the lens. 

Finally, regarding build quality, the SIGMA 50mm F1.2 DG DN is designed to be dust-proof and drip-proof, and the front element features a water and stain-repellent coating. Made from polycarbonate, the lens has an AFL button that can be assigned to different functions depending on the camera. Also, in addition to the aperture ring, the lens features an aperture ring lock switch and a click switch to turn the aperture ring on and off.

Technical specs

• Lens construction: 17 elements in 12 groups (4 aspherical lenses)
• Number of aperture blades: 13 (circular aperture)
• Minimum focusing distance: 40cm
• Filter size: φ72mm
• Maximum diameter x length: φ81.0mm x 108.8mm
• Weight: 745g

Price and availability

The SIGMA 50mm F1.2 DG DN | Art will be released on April 18 and is available for pre-ordering at B&H now.

What do you think about this new lens from SIGMA? Would you like to add it to your set? Let us know in the comments below!

As better codecs and formats trickle down to various hybrid and cine cameras, better, faster, and more spacious memory cards are required. While most low to mid-range cameras can do with UHS-II SD cards, high-end hybrid cameras often require faster cards. CFexpress type B cards are probably the most common in the premium segment.

Ironically enough, it’s mostly the non-Sony crowd who will benefit from the new 240GB and 480GB TOUGH cards. Type B is absent from most of the Sony line, which opted for the more compact CFexpress type A for the hybrid Alpha line. But if you own a Canon R5, R5C, or R3, a FUJIFILM X-H2 or X-H2s, a Nikon Z 8 or Z 9, or a Blackmagic Cinema Camera 6K, these cards are worth your attention.

TOUGH build

As with all Sony’s TOUGH series, these cards are built to the highest physical standards. Resistant to bends, drops, X-rays, UV exposure, and extreme temperatures, the TOUGH duo operational range spans from -13 to 158°F / -25 to 70°C and the storage range goes as far as -40 to 185°F / -40 to 85°C. Sony makes many claims regarding the cards’ rigidity but I couldn’t find any verified information about weather resistance. While most cards are pretty sturdy and don’t usually go out in harsh conditions, bear this in mind.

High speed

The new CFexpress type B TOUGH duo boasts impressively high read/write speeds. This is the case with most CFexpress cards, but those two are fast even compared with this segment. PCIe 3.0 x2 Bus helps bring the max write speed of the 240GB and the 480GB to 1600 MB/s and 1750 MB/s respectively. While no minimum writing speed is specified, it seems that these cards will handle rather extreme requirements. Read speed is also on the high side at 1850 MB/s for the fastest data offloads. While more relevant for high-end video, these specs will also help stills photographers, especially with the recent crop of high-res / high-speed flagships like the Sony a1, Leica SL3, etc.

Alternatives

Memory card alternatives are naturally numerous, and CFexpress type B has been a standard for premium memory cards for quite a while, so many of these are readily available. These two new cards face rather stiff competition from the likes of Sandisk and Pro Grade, both offering competitive pricing and specs. The ProGrade 512GB CFexpress 4.0 Type B Gold offers higher speeds with a max write speed of 3000 MB/s and a min write speed of 2400 MB/s. It’s also significantly more affordable at $179. Sandisk also offers its 512 Extreme PRO CFexpress option for $139, but it’s a slightly slower card compared with Sony’s current TOUGH duo with a max write speed of 1400 MB/s. The Sandisk card is also on sale as this article is published, so pricing may vary depending on the time of reading. Both the Pro Grade and Sandisk cards aren’t tested to the same extreme conditions as the TOUGH series. While memory cards are relatively resilient compared with other filmmaking gear, Sony went the extra mile with the TOUGH series.

Price and availability

Both cards are available for preorder with expected shipping on May 9th-10th. The 240GB version will be priced at $200 while the larger 480GB will set you back $320, a better price-capacity ratio.

Will you opt for such fast cards for your next video production? Are such speeds overkill, or would you rather use the more efficient external recording options? Let us know in the comments.